SCULPTURE  OF 

THE  EXPOSITION 

PALACES  AND 

COURTS 


JULIET  JAMES 


THE  FOUNTAIN  OF  ENERGY 
A.  Stirling  Calder,  Sculptor 


SCULPTURE  OF 

THE  EXPOSITION  PALACES 

AND  COURTS 

DESCRIPTIVE  NOTES  ON 

THE  ART  OF  THE  STATUARY  AT  THE 

PANAMA-PACIFIC  INTERNATIONAL 

EXPOSITION '  SAN  FRANCISCO 

BY  JULIET  TAMES 


SAN  FRANCISCO 

H  '  S  <  CROCKER  COMPANY 

PUBLISHERS 


Copyright,  1915 

H.  S.  Crocker  Company 

San  Francisco 


To  A.  Stirling  Calder 

who  has  so  ably  managed  the  execution 

of  the  sculpture,  and  to  the  vast  body  of 

'  sculptors  and  their  workmen  who  have 

given  the  world  such  inspiration  with 

their  splendid  work,  this  book 

is  dedicated 


1 


FOREWORD 

HAT  accents  itself  in  the 
mind  of  the  layman  who 
makes  even  a  cursory 
study  of  the  sculptors  and 
their  works  at  the  Pana' 
ma'Pacific  International 
Exposition  is  the  fine,  in' 
spiring  sincerity  and  uplift 

that  each  man  brings  to  his  work.  One  cannot 

be  a  great  sculptor  otherwise. 

The  sculptor's  work  calls  for  steadfastness  of 

purpose  through  long  years  of  study,  acute  obser' 

vation,  the  highest  standards,  fine  intellectual  abil' 

ity  and  above  all  a  decided  universalism -other' 

wise  the  world  soon  passes  him  by. 

It  is  astonishing  to  see  brought  together  the 

work  of  so  many  really  great  sculptors.  America 

has  a  very  large  number  of  talented  men  express' 

ing  themselves  on  the  plastic  side -and  a  few 

geniuses. 

The  Exposition  of  1915  has  given  the  world 

the  opportunity  of  seeing  the  purposeful  heights 

to  which  these  men  have  climbed. 

We  have  today  real  American  sculpture-work 

that  savors  of  American  soil-a  splendid  national 

expression. 

[v] 


FOREWORD 

Never  before  have  so  many  remarkable  works 
been  brought  together;  and  American  sculpture  is 
only  in  its  infancy-born,  one  might  say,  after  the 
Centennial  Exposition  of  1876. 

The  wholesome  part  of  it  all  is  that  men  and 
women  are  working  independently  in  their  ex' 
pressions.  We  do  not  see  that  effect  here  of  one 
man  trying  to  fit  himself  to  another  man's  clothing. 
The  work  is  all  distinctly  individual.  This  individx 
ualism  for  any  art  is  a  hopeful  outlook. 

The  sculpture  has  vitalized  the  whole  marvel' 
ous  Exposition.  It  is  not  an  accessory,  as  has  been 
the  sculpture  of  previous  Expositions,  but  it  goes 
hand  in  hand  with  the  architecture,  poignantly  ex' 
isting  for  its  own  sake  and  adding  greatly  to  the 
decorative  architectural  effects.  In  many  cases  the 
architecture  is  only  the  background  or  often  only 
a  pedestal  for  the  figure  or  group,  pregnant  with 
spirit  and  meaning. 

Those  who  have  the  city's  growth  at  heart 
should  see  to  it  that  these  men  of  brain  and  skill 
and  inspiration  are  employed  to  help  beautify  the 
commercial  centers,  the  parks,  the  boulevards  of 
our  cities. 

We  need  the  fine  lessons  of  beauty  and  uplift 
around  us. 

We  beautify  our  houses  and  spend  very  little 

[VI] 


FOREWORD 

time  in  them.  Why  not  beautify  our  outside  world 
where  we  spend  the  bulk  of  our  time? 

We,  a  pleasure-loving  people,  are  devoting  more 
time  every  year  to  outside  life.  Would  it  not  be  a 
thorough  joy  to  the  most  prosaic  of  us  to  have  our 
cities  beautified  with  inspiring  sculpture? 

We  do  a  great  deal  in  the  line  of  horticultu- 
ral  beautifying -we  could  do  far  more-but  how 
little  we  have  done  with  one  of  the  most  mean- 
ingful and  stimulating  of  the  arts. 

Let  us  see  to  it,  in  San  Francisco  at  least,  that 
a  few  of  these  works  are  made  permanent. 

Take  as  an  example  James  Earle  Eraser's  "End 
of  the  Trail."  Imagine  the  effect  of  that  fine  work 
silhouetted  against  the  sky  out  near  Fort  Point, 
on  a  western  headland,  with  the  animal's  head  to- 
ward the  sea,  so  that  it  would  be  evident  to  the  on- 
looker that  the  Indian  had  reached  the  very  end 
of  the  trail.  It  would  play  a  wonderful  part  in  the 
beauty  of  the  landscape. 

Or  take  Edith  Woodman  Burroughs'  "Youth." 
What  a  delight  a  permanent  reproduction  of  that 
fountain  would  be  if  placed  against  the  side  of  one 
of  the  green  hills  out  at  Golden  Gate  Park -say 
near  the  Children's  Playground -with  a  pool  at  its 
base.  It  is  only  by  conceited  action  that  we  will 
ever  get  these  works  among  us.  Who  is  going  to 
take  the  lead? 

[vn] 


THE  CONTENTS 

Vagc 

Introduction v 

The  Fountain  of  Energy 3 

The  Mother  of  Tomorrow 6 

The  Nations  of  the  Occident      ......  8 

The  Nations  of  the  Orient 10 

The  Alaskan 12 

The  Lama         14 

The  Genius  of  Creation 16 

The  Rising  Sun 18 

Descending  Night 20 

Winter 22 

The  Portals  of  El  Dorado 24 

Panel  of  the  Fountain  of  El  Dorado         ....  26 

Youth 28 

The  American  Pioneer .30 

Cortez; 32 

The  End  of  the  Trail 34 

Panel  from  the  Column  of  Progress 36 

The  Feast  of  the  Sacrifice 38 

The  Joy  of  Living 40 

The  Man  with  the  Pick 42 

The  Kneeling  Figure 44 

The  Pegasus  Panel 46 

Primitive  Man 48 

Thought 50 

Victory 52 

The  Priestess  of  Culture 54 

The  Adventurous  Bowman 56 

Pan 58 

Air           60 

The  Signs  of  the  Zodiac 62, 


THE  CONTENTS  ^ 

The  Fountain  of  Ceres 64 

The  Survival  of  the  Fittest 66 

Earth 68 

Wildflower          7° 

Biographies  of  Sculptors 75 

Sculpture  Around  the  Fine  Arts  Lagoon       ...  93 


THE  ILLUSTRATIONS 

'Page 

The  Fountain  of  Energy Frontispiece 

A.  Stirling  Calder,  Sculptor 

The  Mother  of  Tomorrow 7 

A.  Stirling  Calder,  Sculptor 

The  Nations  of  the  Occident      ......       9 

A.  Stirling  Calder,  Frederick  Roth,  Leo  Lentelli,  Sculptors 

The  Nations  of  the  Orient n 

A.  Stirling  Calder,  Frederick  Roth,  Leo  Lentelli,  Sculptors 

The  Alaskan 13 

Frederick  Roth,  Sculptor 

The  Lama 15 

Frederick  Roth,  Sculptor 

The  Genius  of  Creation 17 

Daniel  Chester  French,  Sculptor 

The  Rising  Sun 19 

Adolph  Alexander  Weinman,  Sculptor 

Descending  Night 21 

Adolph  Alexander  Weinman,  Sculptor 

Winter 23 

Furio  Piccirilli,  Sculptor 

The  Portals  of  El  Dorado 25 

Gertrude  Vanderbilt  Whitney,  Sculptor 

Panel  of  the  Fountain  of  El  Dorado         .       .       .       .27 

Gertrude  Vanderbilt  Whitney,  Sculptor 

Youth .29 

Edith  Woodman  Burroughs,  Sculptor 

The  American  Pioneer 31 

Solon  Hamilton  Borglum,  Sculptor 

Cortes 33 

Charles  Niehaus,  Sculptor 

The  End  of  the  Trail 35 

James  Earle  Fraser,  Sculptor 

Panel  from  the  Column  of  Progress 37 

Isidore  Konti,  Sculptor 

The  Feast  of  the  Sacrifice 39 

Albert  Jaeger,  Sculptor 

The  Joy  of  Living 41 

Paul  Manship,  Sculptor 

The  Man  with  the  Pick 43 

Ralph  Stackpole,  Sculptor 

[XI] 


THE  ILLUSTRATIONS 

'Page 

The  Kneeling  Figure 45 

Ralph  Stackpole,  Sculptor 

The  Pegasus  Panel 47 

Bruno  Louis  Zimm,  Sculptor 

Primitive  Man 49 

Albert  Weinert,  Sculptor 

Thought 51 

Albert  Weinert,  Sculptor 

Victory 53 

Louis  Ulrich,  Sculptor 

The  Priestess  of  Culture 55 

Herbert  Adams,  Sculptor 

The  Adventurous  Bowman 57 

Herman  A.  Mac  Neil,  Sculptor 

Pan 59 

Sherry  Fry,  Sculptor 

Air  61 

Robert  Ingersoll  Aitken,  Sculptor 

The  Signs  of  the  Zodiac 63 

Herman  A.  Mac  Neil,  Sculptor 

The  Fountain  of  Ceres 65 

Evelyn  Beatrice  Longman,  Sculptor 

The  Survival  of  the  Fittest 67 

Robert  Ingersoll  Aitken,  Sculptor 

Earth 69 

Robert  Ingersoll  Aitken,  Sculptor 

Wildflower          71 

Edward  Berge,  Sculptor 


[xn] 


SCULPTURE  OF 

THE  EXPOSITION  PALACES 

AND  COURTS 

"The  influence  of  sculpture  is  far' 

reaching.  The  mind  that  loves  this 

art  and  understands  its  language 

will  more  and  more  insist  on  a  cerx 

tain  order  and  decorum  in  visual 

life.    It  opens  an  avenue  for  the 

expression  of  aesthetic  enjoyment 

somewhere  between  poetry  and 

music  and  akin  to  drama. 

-Arthur  Hoeber 


THE  FOUNTAIN  OF  E^'T-  '5Y 

A.  Stirling  Calder,  Sculpto: 
[See  Frontispiece] 

The  Fountain  of  Energy  is  a  me  .v  mental 
aquatic  composit  expressing  in  exuber- 
ant  allegory  the  .<:v)h  of  Energy,  the 
Lord  of  the  Isthmian  Vay.  *  It  is  the  cen- 
tral sculptural  feature  of  the  South  Garden, 
occupying  the  great  quatrefoil  pool  in  front 
of  the  tower.  /  The  theme  is  Energy,  the 
Conqueror-the  Over  Lord-the  Master; 
Energy,  mental  and  physical;  Energy— the 
Will,  the  indomitable  power  that  achieved 
the  Waterway  between  the  Oceans  at  Pan- 
ama. The  Earth  Sphere,  supported  by  an  un- 
dulating frieze  of  mer-men  and  women,  is 
his  pedestal.  /  Advancing  from  it  in  the  wa- 
ter at  the  four  relatively  respective  points  of 
the  compass,  North,  South,  East  and  West, 
are  groups  representing  the  Atlantic  and 
the  Pacific  Oceans  and  the  North  and 
the  South  Seas;  groups  richly  imaginative, 
expressing  types  of  Oriental,  Occidental, 
Southern  and  Northern  land  and  sea  life.  / 
The  interrupted  outer  circle  of  water  mo' 


tifs  represent  Nereids  driving  spouting  fish.' 
Vertical  zones  of  writhing  figures  ascend 
the  sphere  at  the  base  of  the  Victor. 
Across  the  upper  portions  of  the  sphere, 
and  modeled  as  parts  of  the  Earth,  stretch 
titanic  zoomorphs,  representing  the  Hemi- 
spheres, East  and  West.  /  The  spirit  of  the 
Eastern  Hemisphere  is  conceived  as  feline 
and  characterized  as  a  human  tiger  cat.  * 
The  spirit  of  the  Western  Hemisphere  is 
conceived  as  taurine  and  characterized  as 
a  human  bull.  /  The  base  of  the  Eques- 
trian is  surrounded  by  a  frieze  of  architec- 
turalized  fish  and  the  rearing  sea  horses 
that  furnish  the  principal  upper  motif  for 
the  play  of  water.  /  Energy  himself  is  pre- 
sented as  a  nude  male,  typically  American, 
standing  in  his  stirrups  astride  a  snorting 
harger-an  exultant  super-horse  needing  no 
ein-commanding  with  grandly  elemental 
;esture  of  extended  arms,  the  passage  of 
"he  Ganal.  /  Growing  from  his  shoulders, 
winged  figures  of  Fame  and  Valor  with 
trumpet,  sword  and  laurel,  forming  a  crest 

w 


above  his  controlling  head,  acclaim   his 

triumph.   /  The   Fountain   embodies  the 

mood  of  joyous,  exultant  power  and  exactly 

expresses  the  spirit  of  the  Exposition.  /  Its 

unique  decorative  character  has  been  aptly 

described  as  heraldic,  "The  Power  of 

America  rising  from  the  Sea." 

A.  Stirling  Calder 


[5] 


THE  MOTHER  OF  TOMORROW 

A.  Stirling  Calder,  Sculptor 

With  upturned  face,  with  steady  onward 
gaze,  the  stalwart  Mother  of  Tomorrow 
moves  ahead.  *  Hers  is  the  firm,  determined 
purpose,  the  will  to  do-to  accomplish  that 
for  which  she  has  started.  *  She  marches 
ahead  of  the  types  of  the  Occident.  /  It 
has  taken  all  these  types  striving  with  com' 
mon  purpose  to  produce  the  future,  there' 
fore  they  form  the  Mother  of  Tomorrow, 
the  matrix  from  which  the  future  genera' 
tions  are  to  come.  *  Mr.  Calder's  high,  splen' 
did  ideals  are  directly  mirrored  in  this  one 
figure.  It  is  not  hard  to  read  the  man 
in  his  handiwork. 


[6] 


THE  MOTHER  OF  TOMORROW 
A.  Stirling  Calder,  Sculptor 


THE  NATIONS  OF  THE  OCCIDENT 

A.  Stirling  Calder,  Frederick  Roth, 
Leo  Lentelli,  Sculptors 

Into  the  great  Court  of  the  Universe,  from 
the  top  of  the  Arch  of  the  Occident,  march 
the  types  of  men  who  have  made  the 
Western  civilization.  From  left  to  right- 
the  French-Canadian,  the  Alaskan,  the  Ger- 
man, the  Latin- American,  the  Italian,  the 
Anglo-American,  the  Squaw,  the  American 
Indian.  In  the  center  of  this  well-balanced 
pyramidal  group,  surmounted  by  Enterprise 
and  drawn  by  sturdy  oxen,  comes  the  old 
prairie  schooner.  *  To  right  and  left  atop 
are  seen  the  Heroes  of  Tomorrow-one  a 
white  boy,  the  other  a  negro  type.  In 
front  marches  the  splendid  Mother 
of  Tomorrow. 


[8] 


g  ja 

?* 


THE  NATIONS  OF  THE  ORIENT 


;*>•;:  .V-  •   '-A. 'Stirling  Calder,  Frederick  Roth, 
Leo  Lentelli,  Sculptors 

Atop  the  Arch  of  the  Orient  is  the 
superb  tableau  representing  the  types  of 
men  that  form  the  Orientals.  From  left  to 
right-the  Arab  Sheik,  the  Negro  Servitor, 
the  Egyptian  Warrior,  the  Arab  Falconer, 
the  Indian  Prince  and  Spirit  of  the  East, 
the  Lama,  the  Mohammedan  Warrior,  the 
Negro  Servitor,  the  Mongolian  Warrior. 
On  they  come  to  join  the  Nations  of  the 
West  in  the  great  Court  of  the  Universe. 
This  group  is  as  fine  as  any  group  ever 
seen  at  an  exposition.  It  rises  in  its  im' 
pressive  pyramidal  height  to  a  climax  in 
the  Spirit  of  the  East-a  fitting  pivot  on 
which  to  turn  the  types. 


[10] 


.        THE  ALASKAN 

.'  ' l  '    t  •    '  \  v  .        Frederick  Roth,  Sculptor 

Frederick  Roth  has  fashioned  one  of  the 
most  expressive  figures  of  the  Exposition 
sculpture,  but  so  far  above  the  eye  is  she 
and  so  overshadowed  by  her  companions, 
that  we  do  not  see  her  in  her  true  light.  * 
It  is  the  Alaskan  Indian  of  the  Nations  of 
the  Occident.  *  She  is  moving  on  with  her 
totem  poles  and  blankets.  You  feel  her  tug 
and  strain,  for  her  load  is  growing  heavier 
with  each  step,  and  she  has  yet  a  long  way 
to  go.  /  The  modeling  of  the  figure,  the 
foot,  the  rigid  arm  and  hand,  all  tell  of 
sustained  effort  that  is  truly  life-like 
in  expression. 


THE  ALASKAN 
Frederick  Roth,  Sculptor 


,;  THE  LAMA 

Frederick  Roth,  Sculptor 

The  priest  of  Thibet,  the  Lama,  passes  on 
his  onward  march  before  you.  /  You  do 
not  wonder  what  race  claims  him.  He  is 
of  Mongolian  blood.  *  He  stolidly  passes 
by,  looking  neither  to  the  right  nor  to  the 
left.  He  is  used  to  being  obeyed.  His  rod  of 
authority  tells  you  that  what  he  says  is 
law.  /  Indifference  and  arrogance  are  on 
his  face.  His  very  posture,  the  very  way 
in  which  his  robe  hangs  from  his  shoulders, 
the  position  of  his  nerveless  fingers  that 
hold  the  rod,  speak  of  centuries  of  indif- 
ference to  everything  except  what 
he  thinks. 


THE  LAMA 
Frederick  Roth,  Sculptor 


THE  GENIUS  OF  CREATION 

;  »"'    .  Paniel  Chester  French,  Sculptor 

The  Spirit  of  Creation  is  a  bisexual  being, 
and  yet  you  feel  the  spirit  and  not  the 
flesh.  /  Its  idealism  is  of  the  highest  order, 
being  largely  produced  by  the  hood  drawn 
far  over  the  face,  throwing  such  deep 
shadow  that  personality  is  lost  sight  of 
and  only  creative  force  is  left.  /  High  on  a 
mighty  boulder  it  sits  with  arms  raised.  / 
The  word  has  just  been  spoken  and  man 
and  woman  have  come  forth-their  feet  on 
the  serpent,  the  symbol  of  wisdom  and 
eternity.  /  At  the  rear  of  the  group  their 
hands  meet  as  if  in  mutual  dependence, 
while  above  appear  the  Alpha  and  Omega- 
"I  am  the  beginning  and  the  end.1' 


[16] 


THE  GENIUS  OF  CREATION 
Daniel  Chester  French,  Sculptor 


'        THE  RISING  SUN 

Adolph  Alexander  Weinman,  Sculptor 

This  fresh,  strong  young  Sun  is  about  to 
start  on  his  journey-dawn  is  soon  to  break 
upon  the  world.  '  With  muscles  stretched, 
the  wind  blowing  through  his  hair,  the 
heavenly  joy  of  the  first  move  expressed 
upon  his  face,  the  vigor  of  young  life 
pulsating  through  his  body,  he  will  start 
the  chest  forward  and  move  those  out' 
stretched  wings.  /  Let  us  preserve  this  gky 
rious  figure  for  our  western  city.  It  would 
so  admirably  suggest  the  new  light  that 
has  been  shed  upon  San  Francisco  by  the 
Exposition  of  nineteen  hundred  and  fifteen, 
as  well  as  the  new  light  occasioned  by 
the  opening  of  the  Panama  Canal. 


[18] 


THE  RISING  SUN 
Adolph  Alexander  Weinman,  Sculptor 


DESCENDING  NIGHT 

1  '  Adolph  Alexander  Weinman,  Sculptor 

The  figure  on  the  page  opposite  is  a  beau' 
tiful  lyric  poem.  She  might  be  called  "A 
Hymn  to  the  Night."  /  Every  line  of  her 
figure  is  musical,  every  move  suggested, 
rhythmical.  Seen  at  night,  she  croons  you 
a  slumber  song.  /  How  subtly  Mr.  Wein- 
man has  told  you  that  she  comes  to  fold 
the  world  within  her  wings-to  create  thru 
her  desire  a  "still  and  pulseless  world."* 
The  muscles  are  all  lax-the  head  is  droop- 
ing, the  arms  are  closing  in  around  the 
face,  the  wings  are  folding,  the  knees  are 
bending-and  she  too  will  soon  sink  to 
slumber  with  the  world  in  her  arms. 
What  a  fine  contrast  of  feeling  between 
the  tense  young  "Sun"  and  relaxed 
"Descending  Night." 


[20] 


DESCENDING  NIGHT 
Adolph  Alexander  Weinman,  Sculptor 


WINTER 

, »'    ::...;:•  \  - .  -'      Furio  Piccirilli,  Sculptor 

Naked  Winter  stands  before  you.  It  is  the 
period  of  the  year  when  the  leaves  are  off 
the  trees  and  the  bark  is  splitting.  <  After 
the  activities  of  autumn  man  is  resting. 
The  fruits  have  been  gathered-the  golden 
apples  and  the  purple  grapes-so  man's 
labors  have  ceased.  <  It  is  the  period  of  con' 
ception.  The  sower  has  just  cast  forth  the 
seed.  Mother  Earth  will  nurture  the  little 
seed  until  the  cold  winter  has  passed  and 
the  warm  sunshine  comes  again  to  give 
each  clod  its  "stir  of  might." 


WINTER 
Furio  Piccirilli,  Sculptor 


THE  MORTALS  OF  EL  DORADO 

Gertrude  Vanderbilt  Whitney,  Sculptor 

There  was  once  among  the  South  Amer- 
ican tribes  a  belief  that  in  a  certain  far-off 
country  lived  a  king  called  El  Dorado,  the 
Gilded  One.  >  He  ruled  over  a  region 
where  gold  and  precious  stones  were  found 
in  abundance.  /  The  story  influenced  a  vast 
number  of  adventurers  who  led  expedi- 
tions to  seek  the  land  of  golden  treasure; 
but  notwithstanding  the  fact  that  they 
searched  most  carefully  and  for  long  peri- 
ods, they  all  failed  to  find  it.  '  The  idea  of 
the  unattainable  gave  the  suggestion  to 
Mrs.  Whitney  for  her  fountain. '  The  gold 
of  El  Dorado  was  used  as  a  symbol  of  all 
material  advantages  which  we  so  strongly 
desire-wealth,  power,  fame,  et  cetera. 


THE  PORTALS  OF  EL  DORADO 
Gertrude  Vanderbilt  Whitney,  Sculptor 


...  PANEL  OF  THE 
FOUNTAIN  OF  EL  DORADO 

Gertrude  Vanderbilt  Whitney,  Sculptor 

In  the  panel  are  seen  men  and  women  in 
their  mad  race  for  the  unattainable.  /  Many 
have  had  a  glimpse  of  the  Gilded  One,  and 
are  rushing  on  to  pass  the  mysterious  gate 
behind  which  the  desires  of  life  await 
them.  /  Some  faint  by  the  roadside  or  stop 
in  their  race  for  the  goal  to  contend  or  to 
loiter  by  the  way,  but  those  nearest  the 
El  Dorado  increase  their  speed.  /  Beside  the 
gateway  that  has  only  just  allowed  the 
Gilded  One  to  pass  thru  are  two  mortals 
who  have  come  close  to  the  land  of  their 
desires,  but  only  to  find  the  door  shut  and 
slaves  beside  it  barring  the  way.  /  Their 
strength  is  expended,  their  courage  gone 
in  the  long  race  for  material  things. 


[26] 


YOUTH 

i . , ;  I&ith,  Woodman  Burroughs,  Sculptor 

A  little  figure  of  innocence  and  purity  in 
all  her  virgin  loveliness  stands  before  you- 
the  incarnation  of  all  that  is  fresh  and 
wholesome.  *  She  is  only  a  slip  of  a  girl 
and  yet  the  dignity  of  her  carriage  beto' 
kens  hopeful  days  for  her  womanhood 
later  on.  *  Her  form  is  exquisitely  moulded. 
Those  little  bony  shoulders  will  all  too 
soon  fill  out  and  she  will  bloom  into  wom- 
anhood. *  The  chief  charm  of  this  little 
lady  is  her  simplicity.  Mrs.  Burroughs  uses 
such  beauty  of  line,  such  sweet  language 
to  tell  her  story. 


YOUTH 
Edith  Woodman  Burroughs,  Sculptor 


THE  AMERICAN  PIONEER 

Solon  Hamilton  Borglum,  Sculptor 

Erect,  dignified,  reflecting  on  the  things  that 
have  been,  the  American  Pioneer  appears 
before  us,  reminding  us  that  to  him  should 
be  given  the  glory  for  the  great  achieve' 
ments  that  have  been  made  on  the  Amer' 
ican  Continent.  /  He  it  was  who  biased 
the  trail  that  others  might  follow.  /  He  en' 
dured  the  hardships,  carved  the  way  across 
the  continent,  and  made  it  possible  for  us 
of  tO'day  to  advance  thru  his  lead.  /  All 
hail  to  the  white'headed,  noble  old  pioneer 
who,  with  gun  and  axe,  pushed  his  way 
thru  the  wilderness;  whose  gaze  was  al' 
ways  upward  and  onward,  and  whose 
courage  was  unfaltering! 


[30] 


THE  AMERICAN  PIONEER 
Solon  Hamilton  Borglum,  Sculptor 


.»;;      :    A      '-.  CORTEZ 

Charles  Niehaus,  Sculptor 

One  of  the  finest  equestrians  at  the  Exposi- 
tion is  Cortes  by  Charles  Niehaus.  /  As 
we  look  upon  the  rider  on  his  sumptuously 
caparisoned  horse  we  are  convinced  that 
he  is  every  inch  a  conqueror.  /  He  is  rep" 
resented  absolutely  motionless-his  feet  in 
the  stirrups-and  yet  you  feel  that  he  is  a 
man  of  tremendous  action.  You  also  feel  his 
fine  reserve,  and  yet  how  spirited  he  is! 
This  is  that  intrepid  spirit  that  desired  the 
land  of  the  Montesumas.  After  determined 
invasions  he  conquered  the  country  in  the 
early  part  of  the  sixteenth  century. 


CORTEZ 
Charles  Niehaus,  Sculptor 


THE  END  OF  THE  TRAIL 

By.  James  Earle  Fraser,  Sculptor 

"The  trail  is  lost,  the  path  is  hid,  and  winds  that  blow  from 
out  the  ages  sweep  me  on  to  that  chill  borderland  where 
Time's  spent  sands  engulf  lost  peoples  and  lost  trails." 
-Marion  Manville  Pope. 

One  of  the  strongest  works  of  the  Expo' 
sition  in  its  intense  pathos  is  this  concep- 
tion of  the  end  of  the  Indian  race.  /  Over 
the  country  the  Indian  has  ridden  for  many 
a  weary  day,  following  the  long  trail  that 
leads  across  a  continent.  /  A  bli^ard  is  on. 
He  has  peered  to  right  and  left,  but  alas ! 
the  trail  is  gone  and  only  despair  is  his.  So 
has  it  been  with  the  Indian  *  His  trail  is 
now  lost  and  on  the  edge  of  the  conti' 
nent  he  finds  himself  almost  annihilated. 


[34] 


THE  END  OF  THE  TRAIL 
James  Earle  Fraser,  Sculptor 


PANEL  FROM 
THE  COLUMN  OF  PROGRESS 

By  Isidore  Konti,  Sculptor 

The  four  panels  on  the  Column  of  Prog' 
ress  show  the  different  mental  conditions 
of  men  on  their  onward  march  thru  life.  * 
In  the  center  of  the  panel  stands  the  man 
of  inspiration-the  eagle,  bird  of  inspiration, 
perched  on  his  shoulder.  He  goes  thru  life 
with  upturned  face,  depending  upon  his 
God  for  strength.  /  Beside  him  on  the  right 
is  seen  the  warrior  who  wins  his  way  by 
sheer  physical  strength. '  On  his  left  stands 
the  ascetic  philosopher,  who  through  con- 
stant vigils  "hath  a  lean  and  hungry  look."  / 
To  the  extreme  left  falteringly  steps  the 
man  who  fears  the  unknown  future;  his 
wife  and  mother  sustain  him  by  spiritual 
cheer.  '  The  figures  are  in  very  high  relief 
so  that  they  seem  almost  human  as 
you  gaze  upon  them. 


[36] 


THE  FEAST  OF  THE  SACRIFICE 

«•  •  •  Albert  Jaegers,  Sculptor 

In  your  imagination  you  see  as  of  old  the 
harvest  procession  marching  around  the 
fields  '  It  is  led  by  the  great  bulls  for  the 
sacrifice  to  the  gods,  that  the  harvest  may 
yield  bounteously.  *  On  either  side  of  the 
bulls  are  the  youths  and  the  maids  carry 
ing  flowered  festoons.  <  The  long  procession 
passes  on  and  halts  before  the  altar  where 
the  bull  being  sacrificed,  the  head  with 
its  festoons  is  placed  upon  the  side  of  the 
altar '  A  most  decorative  group  is  this  Feast 
of  the  Sacrifice-brute  strength  and  the 
graceful  form  of  the  maid  making  a  splendid 
play  of  line  that  most  satisfactorily 
charms  the  eye. 


[38] 


, .:..'. , .   .  JHE  JOY  OF  LIVING 

"  Paul  Manship,  Sculptor 

With  perfect  abandon  come  these  maid' 
ens  into  the  Court  of  the  Universe,  carry 
ing  their  festoons  of  wild  roses.  *  They 
bring  to  the  great  festival  joy  and  love  of 
life-a  telling  addition  to  all  that  has  been 
expressed  in  the  court.  '  They  savor  of 
old  Greek  days,  these  maidens  of  archaic 
hair  and  sigsag  draperies.  '  Paul  Manship 
loves  the  classic  which  brings  with  it 
much  of  free  expression,  and  he  has  adopted 
the  archaic  style  that  recalls  the  figures 
such  as  are  seen  on  old  Greek  vases.  No 
one  is  more  joyous  among  the  sculptors 
than  this  man.  He  has  a  rarely  beautiful 
gift  from  the  gods. 


[40] 


THE  JOY  OF  LIVING 
Paul  Manship,  Sculptor 


THE  MAN  WITH  THE  PICK 

'    • '  Ralph  Stackpole,  Sculptor 

An  ordinary  workman  with  his  pick-and 
yet  how  impressed  you  are  with  his  sin' 
cerity.  /  In  him  is  asserted  the  dignity,  the 
usefulness,  the  nobility  of  all  labor.  *  He 
helps  to  turn  the  wheels  of  trade,  to  fur- 
ther the  interests  of  the  world.  He  works 
patiently  day  by  day,  notwithstanding  the 
fact  that  those  above  him  reap  the  bene' 
fits.  /  Mr.  Stackpole  has  been  most  happy 
in  his  expression. '  The  broad  treatment  is 
thoroughly  suitable  to  just  such  work  as 
this.  There  are  no  accessories  employed. 
The  work  is  absolutely  direct. 


[4*] 


THE  MAN  WITH  THE  PICK 
Ralph  Stackpole,  Sculptor 


.  THE  KNEELING  FIGURE 

•  -  -  -Ralph  Stackpole,  Sculptor 

With  the  love  for  all  that  is  beautiful  in 
life,  in  what  God  has  made  and  in  what 
man  has  fashioned,  the  grateful  devotee 
has  mounted  the  steps  that  lead  to  the 
altar  at  which  she  offers  up  her  devotion. 
She  bows  her  head  in  humble  reverence 
to  her  God  for  all  that  He  has  given  her 
to  enjoy-all  that  is  good,  pure,  true,  beau- 
tiful, uplifting.  '  And  we  onlookers,  too, 
would  join  the  moving  throng  that  bend 
the  knees  at  the  altar  of  beauty  and  truth. 
Across  the  lagoon  we  gase  upon  the  great 
stillness,  and  we  with  her  murmur, 
"Father,  I  thank  Thee." 


[44] 


THE  PEGASUS  PANEL 

Bruno  Louis  Zimm 

There  are  no  reliefs  more  classically  inspir^ 
ing  than  are  these  superb  reliefs  by  Bruno 
Zimm.  '  The  one  on  the  opposite  page  is 
of  great  beauty.  '  The  young  artist  has 
caught  the  inspiration  of  his  art-he  has 
bridled  Pegasus.  '  Beside  him  march  the 
Arts-Literature,  holding  aloft  her  symbol, 
the  lamp;  Sculpture  extending  in  front  of 
her  the  statuette,  a  devotee  admiring,  and 
Music  leading  the  procession,  stilling  ever 
the  beasts-a  veritable  Orpheus. '  Mr.  Zimm 
has  been  most  successful  in  the  fine  work- 
ing out  of  his  subject  in  a  classical  way, 
for  the  style  of  relief  work  accords  well 
in  feeling  with  the  superb  classic 
architecture  it  decorates. 


[46] 


PRIMITIVE  MAN 

Albert  Weinert,  Sculptor 

Long  ages  past  I  lived  and  gave  no  thought 
of  time  or  doing  aught  save  going  as  my 
fancy  took  me.  '  Ofttimes  I  took  my  bow 
and  arrow  and  hied  me  to  the  mighty  for- 
ests where  herds  of  Nature's  roaming  kind 
served  as  my  food  when  I  required  it.  * 
Again  I  followed  to  the  sea  where,  casting 
in  my  net,  I  drew  up  myriads  of  the  finny 
tribe  to  satisfy  my  appetite.  Oft  drew  I 
up  such  numbers  vast  that  having  naught 
to  do  but  to  amuse  myself,  I  fed  my  extra 
fish  the  friendly  pelican  that  had  become 
companion  in  my  walks  along  the  shore.  / 
A  simple  man  was  I  with  not  too  many 
thoughts  and  only  few  desires.  My  body 
was  my  foremost  daily  thought,  and  little 
cared  I  for  aught  else  besides. 


[48] 


PRIMITIVE  MAN 
Albert  Weinert,  Sculptor 


THOUGHT 

Albert  Weinert,  Sculptor 

The  ages  have  passed  on  and  I  more 
thoughtful  have  become,  for  mighty  revo- 
lutions  have  gone  on  within  my  frame.  * 
My  mind,  a  once  too  puny  thing,  has  year 
by  year  grown  stronger,  until  to-day  I  real- 
ize that  feeble  is  my  flesh-a  thing  to  be 
abhorred,  and  mind  does  rule  above  all 
else.  /  My  very  face  which  once  was  rude 
and  lacked  that  fire  that  strong  intelligence 
does  give  now  has  a  steady  purpose  and 
fine  spirit  writ  upon  it.  *  It  is  as  if  my  flesh 
of  old  had  dropped  and  like  a  cast-off  cloak 
had  fallen  at  my  feet.  /  Then  come  those 
days  when  tumult  as  of  yore  is  waged 
within  me,  and  then  I  grasp  my  new-made 
self  and  yearn  to  hold  my  old  position 
within  the  body  walls.  /  Thought  more 
strong  than  flesh  does  wield  its  strength 
and  back  I  crouch  beneath  the  feet  to  stay 
till  Thought  is  off  his  guard  again. 


[50] 


THOUGHT 
Albert  Wcinert,  Sculptor 


VICTORY 

Louis  Ulrich,  Sculptor 

Against  the  blue  sky,  with  wings  poised 
and  draperies  blown  back,  appears  a  Vic- 
tory  from  every  gable  point  of  the  palaces 
of  the  Exposition.  /  She  is  positively  charm- 
ing in  her  sweep  forward.  /  Poised  far 
above  you,  she  holds  the  laurel  wreath 
ready  for  the  victor.  /  Blessed  Victories! 
We  rejoice  that  there  are  so  many  of  you 
for  we  have  found  so  many  victors.  /  Side- 
view,  against  the  clear  blue  sky,  she  sug- 
gests the  great  victory  of  Samothrace.  /  Mr. 
Ulrich,  we  feel  sure  that  the  Lady  Samo- 
thrace has  exerted  her  subtle  influence. 


VICTORY 
Louis  Ulrich,  Sculptor 


THE  PRIESTESS  OF  CULTURE 

'  Herbert  Adams,  Sculptor 

There  are  few  sculptors  with  greater  refine- 
ment or  more  cultured  reserve  than  Her- 
bert Adams.  *  He  understands  the  selection 
of  the  significant  and  in  many  ways  seems 
most  fitting  to  represent  the  Priestess  of 
Culture.  /  This  figure  at  the  base  of  the 
dome  of  the  rotunda  of  the  Fine  Arts 
Palace,  dn  the  inside,  is  eight  times  re- 
peated.  *  Simple,  dignified,  beautifully  bal' 
anced,  with  elegance  expressed  in  every 
line  of  her  garment  with  its  rich  border 
sparingly  used,  she  holds  in  either  arm  an 
overflowing  cornucopia,  the  symbol  of 
what  she  is  able  to  give  you. 


[54] 


THE  PRIESTESS  OF  CULTURE' '  -' 
Herbert  Adams,  Sculptor 


THE  ADVENTUROUS  BOWMAN 

Herman  A.  MacNeil,  Sculptor 

At  the  top  of  the  Column  of  Progress 
where  the  sea-wind  blows  thru  his  locks, 
stands  the  Adventurous  Bowman,  the  sym- 
bol of  achievement.  /  At  the  base  of  the 
column  are  seen  figures  representing  the 
progress  of  men  thru  life.  /  We  watch 
them  file  past,  but  it  is  with  this  man  of 
splendid  daring,  of  consummate  achieve' 
ment,  that  we  are  most  concerned.  *•  He 
has  striven  and  has  reached  the  top.  He 
has  only  just  pulled  the  chord  of  his  bow, 
and  his  arrow  has  sped  on.  *  With  confi- 
dent eye  he  looks  to  see  it  hit  the  mark.  / 
The  laurel  wreath  and  palm  of  victory 
await  his  efforts. 


[56] 


THE  ADVENTUROUS  BOW!** AN 
Herman  A.  MacNeil,  Sculptoj    ,    . 


PAN 

Sherry  Fry,  Sculptor 

You  cannot  look  upon  this  little  figure  with- 
out feeling  that  he  is  inimitably  charming.  / 
Pan,  a  god  of  the  woodland,  the  symbol 
of  the  festive  side  of  the  Exposition,  sits 
among  the  shrubs  in  front  of  Festival  Hall./ 
He  has  selected  a  marble  capital  on  which 
to  sit-quick  reminder  of  those  classic  days 
when  he  roamed  the  Greek  glades.  Over 
the  cold  seat  he  has  spread  his  fawn-skin. 
He  has  just  been  moving  his  lips  over  the 
pan-pipes,  but  a  rustle  among  the  leaves 
has  caused  him  to  pause  in  his  melody.  /  In 
the  grass  he  sees  a  lizard  which  is  as  intent 
on  Pan  as  Pan  is  on  him.  /  Care-free  Pan 
with  pointed  ear  and  horned  brow,  we  love 
thee,  for  dost  thou  not  give  us  all  our 
jollity  and  fun,  the  tonic  for  our 
daily  walks! 


PAN 
Sherry  Fry,  Sculptor 


AIR 

Robert  Ingersoll  Aitken,  Sculptor 

Robert  Ingersoll  Aitken  has  added  to  the 
cosmical  meaning  of  the  Court  of  the  Uni- 
verse his  four  elements-monumental,  hori- 
zontal compositions  of  pronounced  decora- 
tive  effect.  <  Air  is  the  one  of  finest  poetic 
feeling.  She  holds  the  star  to  her  ear  and 
listens  to  the  music  of  the  spheres.  *  The 
eagle,  the  symbol  of  the  air,  is  used  with 
finely  balanced  effect.  *  On  her  back  are  fas- 
tened wings,  and  man,  puny  man,  is  aiming, 
by  attaching  'wings  to  himself,  to  over- 
come her-a  subtle  suggestion 
of  airships. 


[60] 


THE  SIGNS  OF  THE  ZODIAC 

Herman  A.  MacNeil,  Sculptor 

One  of  the  lovliest  gems  of  beauty  in  the 
Court  of  the  Universe  is  Herman  A.  Mac- 
Neil's  cameo  frieze  of  gliding  figures.  <  In 
the  centre,  with  wings  outstretched,  is 
Atlas,  mythologically  the  first  astronomer. ' 
Passing  to  left  and  right  glide  maidens,  two 
and  two,  carrying  their  symbols-for  these 
are  the  signs  of  the  zodiac.  *  These  maids 
are  the  Hyades  and  Pleiades,  the  fourteen 
daughters  of  Atlas.  '  It  is  as  if  the  figures 
of  some  rare  old  Greek  vase  had  suddenly 
distributed  themselves  along  the  top  of  the 
great  piers.  '  For  absolute  refinement,  for 
a  certain  old  Greek  spirit  in  the  Court  of 
the  Universe,  these  reliefs  could  not 
be  excelled. 


[62] 


'THE  FOUNTAIN  OF  CERES 

Evelyn  Beatrice  Longman,  Sculptor 

The  architectural  side  of  the  Fountain  of 
Ceres,  with  its  pleasing  proportions,  is  most 
satisfying  to  the  eye.  *  It  was  a  happy 
selection  to  place  the  Goddess  of  Agricul- 
ture between  the  Food  Products  Palace 
and  the  Palace  of  Agriculture.  Ceres  strikes 
the  keynote  of  this  delightfully  beautiful 
court.  *  With  corn  sceptre  and  cereal 
wreath,  Ceres  is  poised  on  the  globe,  the 
winds  of  the  Golden  Gate  blowing  thru 
her  drapery.  /  Below  on  the  die  of  the  foun- 
tain are  graceful  figures  in  relief  suggesting 
the  decorations  of  a  Greek  vase.  <  Eight 
joyous,  happy  creatures  trip  past  you,  some 
with  tambourines,  others  with  pipes  sound- 
ing roundelays,  or  carrying  festoons 
of  flowers. 


[64] 


THE  FOUNTAIN  OF  CERES 
Evelyn  Beatrice  Longman,  Sculptor 


THE  SURVIVAL  OF  THE  FITTEST 

Robert  Ingersoll  Aitken,  Sculptor 

This  is  the  initial  expression  of  martial 
spirit,  when  the  first  combat  is  seen  and 
man  by  physical  force  seeks  to  override 
the  power  of  his  fellows.  '  Far  back  in  the 
childhood  of  history  one  finds,  as  often 
to-day  is  the  case,  that  woman  is  the  mo- 
tive for  the  fray.  *  Three  combatants  are 
here-the  one  on  the  right  separated  from 
the  most  powerful  by  the  hand  of  her  who 
loves  him.  /  The  cause  of  the  trouble  stands 
at  the  left,  steadfastly  watching  to  see  which 
of  those  that  seek  her  is  to  be  the  victor.  /  A 
glance  tells  you  that  he  of  powerful  build  in 
the  center  of  the  panel  is  to  hold  sway. 
He  it  is  who  is  the  most  fitting  survivor. 


[66] 


;-.•;_  --\   -EARTH 

Robert  Ingersoll  Aitken,  Sculptor 

A  very  remarkable  figure,  her  head  hang- 
ing forward,  lies  stretched  in  slumber.  It 
is  the  sleeping  Earth.  '  From  her  come  the 
great  trees  whose  ramifying  roots  extend 
in  all  directions.  /  Man  is  seen  wresting 
from  her  stone  and  precious  metals.  *  Won- 
derfully has  Robert  Aitken  worked  out 
the  Mother  Earth  idea.  She  has  brought 
forth  many  times  and  yet  is  ever  young.  / 
It  is  keenly  interesting  to  look  at  "Earth" 
and  then  at  Michelangelo's  "Night"  to 
see  the  source  of  inspiration. 


[68] 


•'«?•*•?  WILDFLOWER 

Edward  Berge,  Sculptor 

At  sight  of  your  form,  I  seem  now  to  see  *  A 
bright  stretch  of  color  across  a  broad  lea,  / 
Where  the  wildflowers  sway  to  and  fro 
in  the  breeze,  <  Where  the  winds  sing  soft 
lullabies  up  in  the  trees  '  Where  all  is  as 
fresh,  free  and  wholesome  as  you,  *  Little 
Wildflower,  blooming,  so  sweet  and  so 
true.  /  And  I  come  from  the  flight  of  my 
far-away  dream  /  As  I  look  and  I  listen,  to 
me  it  would  seem  <  That  I  hear  a  small 
voice  in  a  most  charming  way '  Say,  "Good- 
morrow!  Goodmorrow!  Take  time  while 
you  may,  '  Just  step  up  yet  closer;  I'll  give 
you  a  chance  /  To  have  something  far 
sweeter  than  just  a  bright  glance." 


WILDFLOWER 

Edward  Berge,  Sculptor 


APPENDIX 


THE  SCULPTORS 

THE  planning,  the  placing,  the  naming  of 
all  this  noble  sculpture  has  practically 
been  done  by  two  men-the  late  Karl  Bitter 
of  New  York,  a  man  of  great  executive 
and  technical  ability  as  well  as  of  immense 
inspiration,  and  A.  Stirling  Calder,  on 
whom  the  honor  for  the  great  bulk  of  the 
work  rests.  /  Besides  acting  as  personal 
overseer  for  the  execution  of  the  sculpture 
of  the  Palaces  and  Courts  of  the  Exposi- 
tion, Mr.  Calder  has  designed  the  Nations 
of  the  Orient,  The  Nations  of  the  Occi- 
dent, The  Fountain  of  Energy,  The  Stars, 
Column  of  Progress  and  its  sculpture,  and 
The  Oriental  Flower  Girl.  /  Since  the 
sculpture  is  one  of  the  strongest  factors  of 
this  Exposition,  we  should  extend  to  Mr. 
Calder  our  heartfelt  appreciation  of  all 
that  he  has  done  to  help  make  this  Expo- 
sition such  a  wonderful,  artistic  success. 


[75] 


THE  SCULPTORS 

ROBERT  INGERSOLL  AITKEN 

Robert  Ingersoll  Aitken  was  born  in  San  Fran- 
cisco in  1878.  He  was  a  pupil  of  Arthur  F.  Ma- 
thews  at  the  Mark  Hopkins  Institute  of  Art  and 
later  of  Douglass  Tilden,  the  well-known  Califor- 
nia sculptor.  He  has  done  a  great  deal  of  very 
strong,  compelling  work.  The  examples  of  his 
sculpture  seen  at  the  Panama-Pacific  International 
Exposition  are  of  pronounced  virility  and  of  fine 
composition.  He  is  a  man  who  excels  in  tech- 
nique. He  has  done  in  San  Francisco  the  Victory 
for  the  Dewey  Monument  in  Union  Square,  the 
McKinley  Monument,  the  Bret  Harte  Monu- 
ment and  the  Hall-McAllister  Monument.  In  the 
Metropolitan  Museum  of  New  York  is  "The 
Flame."  At  the  Fine  Arts  Palace-are  a  number  of 
works  from  his  chisel-The  Gates  of  Silence,  the 
Gates'  memorial,  being  by  far  the  finest. 

HERBERT  ADAMS 

Herbert  Adams  was  born  in  Vermont  in  1858. 
He  has  had  many  advantages,  not  the  least  of 
which  were  the  five  years  spent  in  Paris.  While 
there  he  did  the  beautiful  bust  of  Adelaide  Pond, 
who  afterwards  became  his  wife.  In  1890  he  re' 
turned  to  America,  becoming  instructor  in  the 
Art  School  of  Pratt  Institute,  Brooklyn.  He  has 

[76] 


THE  SCULPTORS 

done  a  number  of  works  for  the  Congressional 
Library,  the  Vanderbilt  bronze  doors  of  the  St. 
Bartholomew  Church  of  New  York,  the  tympan 
of  the  Madonna  and  Child  in  the  same  church,  a 
statue  of  William  Ellery  Charming  and  many  oth- 
ers.  His  beautiful  busts  of  women  are  said  to  be 
unsurpassed  even  in  France. 

EDWARD  BERGE 

Edward  Berge  was  born  at  Baltimore,  Mary- 
land, in  1874.  He  was  admitted  quite  early  in  life 
to  the  Maryland  Institute  of  Art,  and  the  Rhine- 
hart  School  of  Sculpture  of  Baltimore,  following 
this  instruction  by  the  usual  finishing-off  at  Paris. 
He  had  the  good  fortune  while  in  Paris  to  study 
under  the  great  Rodin.  He  won  bronze  medals 
at  both  the  Pan-American  Exposition  of  1901  and 
the  St.  Louis  Exposition  of  1904.  His  many  very 
interesting  fountain  figures  seen  at  the  Panama- 
Pacific  International  Exposition  have  won  de- 
served praise  from  the  many  who  have  seen  them. 

SOLON  BORGLUM 

Solon  Borglum  was  born  in  1868  at  Ogden, 
Utah.  The  greater  part  of  his  early  life  was 
spent  on  the  plains  of  Nebraska,  lassoing  wild 
horses  and  photographing  at  the  same  time  every 


THE  SCULPTORS 

detail  of  this  strange  life  upon  his  brain.  He 
spent  a  short  time  in  California,  where  he  began 
his  life  as  an  artist.  Realising  his  limitations,  he 
went  to  the  Cincinnati  Art  School,  where  he  stud- 
ied some  time  under  Rebisso.  It  was  while  here 
that  he  spent  all  of  his  spare  time  on  the  anat' 
omy  of  the  horse.  The  time  soon  arrived  for  a 
sojourn  in  Paris.  His  "Little  Horse  in  the  Wind" 
excited  pronounced  attention  at  the  Salon  that 
first  year  abroad  and  honors  were  bestowed  upon 
him  as  long  as  he  remained  in  Paris.  He  has  given 
the  Indian  the  greatest  attention,  and  is  one  of  the 
best  sculptors  of  the  red  man  in  the  United  States. 
He  has  but  one  group  in  the  Fine  Arts  Palace - 
"Washington." 

EDITH  WOODMAN  BURROUGHS 

One  of  the  chief  women  sculptors  of  the  United 
States  is  Edith  Woodman  Burroughs,  born  at 
Riverdale' on  "the 'Hudson,  in  1871.  She  was  a 
pupil  at  the  New  York  Art  Students'  League  under 
Augustus  Saint-Gaudens,  later  studying  in  Paris 
with  Injalbert  and  Merson.  In  1893  she  was  mar- 
ried  to  Bryson  Burroughs,  a  New  York  artist.  She 
has  made  a  specialty  of  fountain  sculpture.  No  one 
who  has  ever  seen  her  Fountain  of  Youth  at  the 
Panama'Pacific  International  Exposition  can  for- 

[78] 


THE  SCULPTORS 

get  it.  It  will  always  be  a  source  of  regret  that  the 
appropriation  for  the  Panama-Pacific  International 
Exposition  sculpture  was  reduced,  thus  preventing 
the  public  from  seeing  the  speaking,  simple  groups 
of  "Arabian  Nights  Entertainments."  Mrs.  Bur- 
roughs is  represented  at  the  Metropolitan  Muse- 
um of  New  York  by  "John  La  Farge,"  a  remarka- 
bly interesting  portrait  head,  full  of  character.  She 
has  the  power  of  speaking  her  language  in  a  few 
words-but  just  the  right  ones. 

A.  STIRLING  CALDER 

The  man  at  the  wheel  in  the  management  of 
all  the  works  of  sculpture  at  the  Panama-Pacific 
International  Exposition  has  been  A.  Stirling  Cal- 
der.  He  was  born  at  Philadelphia  in  1870.  Having 
studied  four  years  at  the  Pennsylvania  Academy 
of  Fine  Arts,  he  had  the  advantage  of  two  years 
in  Paris.  For  some  time  he  has  been  connected 
with  the  Philadelphia  School  of  Industrial  Arts. 
He  is  a  man  of  splendid  imagination,  of  dignified 
and  noble  purpose,  being  one  of  the  sincere  men 
of  his  art  who  keeps  the  standards  where  they 
should  be.  One  of  his  early  works,  "The  Man 
Cub,"  in  the  Pennsylvania  Academy  of  Fine  Arts, 
is  most  original  and  interesting  in  its  treatment.  It 
stands  a  most  unique  figure  in  the  line  of  sculpture. 

[79] 


THE  SCULPTORS 

It  is  said  that  his  "  Martha  W.  Baldwin  Memorial" 
is  one  of  the  best  designs  for  a  figure  and  pedestal 
yet  produced  in  America.  Mr.  Calder  lived  some 
time  in  southern  California  and  when  there  did 
the  sculptured  work  on  the  portico  of  Throop 
Polytechnic  Institute  of  Pasadena.  This  work  was 
done  by  means  of  enormous  castings  made  in  fine 
concrete.  Mr.  Calder  originated  this  method  and 
it  will  probably  be  the  means  of  revolutionising 
the  relief  work  done  on  many  of  the  public  build' 
ings  in  the  future.  Mr.  Calders  rare  intellectual 
fiber,  added  to  his  accurate  knowledge  of  his  sub' 
jects,  with  his  exalted  outlook,  has  placed  him 
among  the  foremost  American  sculptors. 

JAMES  EARLE  ERASER 

James  Earle  Eraser  was  born  at  Winona,  Min' 
nesota,  in  1876.  His  father  was  a  railroad  con' 
structor,  so  that  the  lad  had  a  good  chance  in 
traveling  around  the  country  to  study  the  free 
types  and  life  of  the  West.  Being  very  impres' 
sionable,  he  imbibed  a  great  deal  which  he  has 
turned  to  good  account  in  his  chosen  work.  At 
fourteen  he  started  to  carve  figures  from  the  chalk 
that  conventionality  required  to  be  used  on  black' 
board  problems.  At  eighteen  he  entered  the 
Chicago  Art  Institute,  where  he  stayed  for  but 

[so] 


THE  SCULPTORS 

three  months.  He  soon  went  to  Paris,  going  first 
to  the  Beaux  Arts  and  later  to  the  Colorossi  and 
Julian  Academies.  He  won  many  honors  during 
his  three  years  stay  in  Paris.  In  1898  he  won 
the  prize  offered  by  the  American  Art  Associa' 
tion  in  Paris  for  the  best  work  in  sculpture. 
Augustus  Saint-Gaudens  was  on  the  jury  and  im- 
mediately  became  interested  in  the  talented  boy 
who  later  on  held  the  place  of  chief  assistant  in 
the  Saint'Gaudens  studio.  He  became  instructor 
of  the  Art  Students'  League  of  New  York  in 
1906,  holding  the  position  until  1911.  He  it  was 
who  made  the  new  five-cent  piece  design-the 
Indian  head  on  one  side,  the  bison  on  the  other. 
He  is  particularly  interested  in  personalities,  hav- 
ing done  a  number  of  very  clever  portrait  busts. 
It  is  enough  to  look  at  the  portrait  bust  of  Mrs. 
Harry  Payne  Whitney's  boy  to  realise  what  he 
is  able  to  do  in  the  line  of  portraiture.  He  has 
produced  nothing  finer  in  that  line.  He  is  a  mas- 
ter of  character  records. 

DANIEL  CHESTER  FRENCH 

Since  the  passing  of  Augustus  Saint-Gaudens, 
Daniel  Chester  French  has  been  regarded  by 
many  as  standing  at  the  head  of  American  sculp- 
ture. He  was  born  in  Exeter,  New  Hampshire,  in 

[81] 


THE  SCULPTORS 

1850.  After  having  one  year  at  the  Massachusetts 
Institute  of  Technology,  he  studied  with  Doctor 
Rimmer  of  Boston,  the  first  teacher  of  art  anat' 
omy  in  the  United  States.  Later  he  studied  with 
Thomas  Ball  of  Florence,  Italy,  and  a  short  time 
in  Paris.  He  has  been  practically  his  own  in' 
structor.  His  work  is  of  the  noblest  type.  It  is 
anatomically  correct,  of  a  high  intellectual  order, 
perfect  technique  and  of  fine  imagery.  His  first 
important  work  was  "The  Minute  Man"  of  Con' 
cord,  Massachusetts.  Among  his  many  works  are 
"Death  and  the  Sculptor,"  "The  Alice  Freeman 
Palmer  Memorial,"  the  head  of  "Emerson"  (which 
caused  Emerson  to  say,"  This  is  the  head  I  shave"), 
"The  Milmore  Memorial,"  "The  Alma  Mater  of 
Columbia  College,"  and  finest  of  all,  the  wonder' 
fill"  Mourning  Victory  "in  Sleepy  Hollow  Ceme' 
tery,  Concord.  His  memorials  are  of  high  spirit' 
ual  import. 

SHERRY  E.  FRY 

Sherry  E.  Fry  was  born  in  Iowa  in  1879.  He 
has  been  most  fortunate  in  having  the  best  in' 
struction,  having  studied  at  the  Chicago  Art 
Institute,  the  Julian  Academy  and  the  Beaux  Arts 
of  Paris,  a  year  in  Florence,  and  later  with  Me' 
Monnies,  Barrias,  Verlet  and  Lorado  Taft.  He 

[82] 


THE  SCULPTORS 

has  traveled  extensively,  so  has  had  the  oppor' 
tunity  of  seeing  the  best  that  the  world  holds  for 
the  artist.  He  won  the  National  Roman  Prize  in 
1908  and  held  it  for  three  years.  He  has  been  a 
careful  student  of  the  Indians.  His  work  at  the 
Panama'Pacific  International  Exposition  is  dis' 
tinctly  graceful  and  decorative. 

ALBERT  JAEGERS 

Albert  Jaegers,  a  man  who  has  taught  himself 
his  art,  having  fine  powers  of  observation  and 
much  invention,  was  born  at  Elberfeld,  Germany, 
in  1868.  He  has  been  an  indefatigable  worker, 
holding  his  art  above  all  else.  Solving  technical 
problems  by  himself,  studying  the  world  around 
him  with  an  intense  love  in  all  his  undertakings, 
Albert  Jaegers  has  come  to  be  a  power  among 
his  fellows.  He  has  exhibited  at  several  Exposi< 
tions,  has  done  considerable  municipal  work-the 
finest  figure  probably  being  his  "Baron  Steuben," 
of  Washington-and  many  fine  portraits.  His 
"Uncle  Joe  Cannon"  in  the  Fine  Arts  Palace, 
shows  his  power  as  a  portraitist.  His  work 
has  brought  him  decorations  from  the  German 
Emperor. 


THE  SCULPTORS 

ISIDORE  KONTI 

A  foreign  sculptor  living  in  New  York,  Isi- 
dore  Konti  has  steadily  risen  in  the  excellence  of 
his  work  until  to'day  he  stands  among  the  fore' 
most  American  sculptors.  He  was  born  at  Vienna, 
in  1862.  His  father's  capture  by  the  Viennese  in 
the  war  against  Hungary,  where  the  father  lived, 
and  his  subsequent  compulsory  connection  with 
the  Viennese  army  made  the  son,  Isidore,  long 
for  the  freedom  of  America.  He  came  to  Amer- 
ica  as  a  boy,  living  in  Chicago.  He  exhibited  at 
the  Chicago  Exposition  in  i893,and  later  attracted 
much  favorable  comment  at  the  Pan- American 
Exposition  at  Buffalo.  His  works  in  the  Fine 
Arts  Palace  are  of  a  very  high  order  and  are 
exquisitely  modeled.  The  more  sober  life  of  the 
individual,  with  appreciation  of  sentiment  and 
longing,  are  evident  in  his  works. 

LEO  LENTELLI 

Leo  Lentelli  was  born  in  Bologna,  Italy,  in 
1879.  He  came  to  the  United  States  in  1903, 
where  he  has  been  permanently  located  in  New 
York.  His  most  notable  work  is  seen  in  the 
Cathedral  of  Saint  John  the  Divine,  New  York, 
where  he  has  done  "The  Savior  with  Sixteen 
Angels"  for  the  reredos.  He  has  recently  com- 

[84] 


THE  SCULPTORS 

pleted  a  group  which  has  been  placed  over  the 
entrance  to  the  new  Branch  Public  Library  of 
San  Francisco.  He  is  still  another  of  the  sculp" 
tors  who  is  self-taught. 

EVELYN  BEATRICE  LONGMAN 

Evelyn  Beatrice  Longman  has  risen  constantly 
in  her  work  since  she  took  her  first  step  in  art  at 
the  Chicago  Art  Institute.  She  was  born  in 
Ohio  of  English  parents,  being  one  of  six  chil' 
dren.  At  fourteen  she  began  to  earn  her  own 
living  in  Chicago,  studying  at  night  at  the  Chi" 
cago  Institute  of  Art.  She  saved  her  money, 
using  it  on  her  education  at  Olivet  College.  She 
returned  to  Chicago  and  studied  drawing  and 
anatomy.  So  clever  was  she  that  at  the  end  of 
the  first  year  she  began  to  teach  those  subjects 
at  the  Institute.  Later,  she  went  to  New  York 
where  she  studied  with  Herman  MacNeil  and 
Daniel  Chester  French.  She  really  made  her 
debut  in  sculpture  at  the  St.  Louis  Exposition, 
where  she  showed  "  Victory,"  a  male  figure  which 
was  so  excellent  in  invention  and  technique  that 
it  was  given  a  place  of  honor  on  the  top  of  Fes' 
tival  Hall.  In  1907  John  Quincy  Adams  Ward 
offered  a  prize  for  the  best  portrait  bust.  This 
competition  was  open  to  all  American  sculptors. 

[85] 


THE  SCULPTORS 

Charles  Grafly  won  in  the  competition,  but 
Miss  Longman  won  the  second  place  with  her 
"Aenigma."  Besides  some  excellent  portraits,  she 
has  done  two  remarkable  bronze  gates  at  the  en' 
trance  to  the  chapel  of  the  United  States  Naval 
Academy  at  Annapolis,  and  much  fine  figure  work. 
Daniel  Chester  French  says  "She  is  the  last  word 
in  ornament." 

HERMAN  A.  MACNEIL 

Herman  A.  MacNeil  was  born  in  1886,  at 
Chelsea,  Massachusetts.  After  graduating  from 
the  State  Normal  School  of  Massachusetts,  he 
went  to  Paris,  where  he  studied  under  Chapu  of 
the  Julian  Academy,  and  two  years  under  Fal- 
guiere  of  the  Ecole  des  Beaux  Arts.  He  came 
home  and  soon  answered  a  call  to  Cornell,  where 
he  remained  three  years.  Then  three  years  were 
spent  in  teaching  art  at  the  Chicago  Art  Institute. 
While  there,  he  taught  Miss  Carol  Brooks  of 
Chicago,  whom  he  married  in  1895.  She  is  a 
very  clever  sculptor  herself.  Her  "Listening  to 
the  Fairies,"  "The  First  Wave,"  "The  First  Les- 
son," "Betty,"  in  the  Fine  Arst  Palace  of  the 
Exposition,  readily  show  how  very  charming  her 
work  is.  Mr.  and  Mrs.  MacNeil  studied  together  in 
Rome  for  four  years  and  on  their  return  to  Amep 

[86] 


THE  SCULPTORS 

ica  established  themselves  in  New  York,  where 
the  MacNeil  studio  is.  He  is  the  teacher  of  mod' 
eling  of  the  National  School  of  Design,  New 
York.  He  has  made  a  specialty  of  Indian  sub' 
jects,  "The  Sun  Vow,"  "The  Coming  of  the 
White  Man,"  and  the  "Moqui  Runner"  being 
some  of  his  best  pieces.  To  him  the  Indians  are 
as  fine  as  Greek  warriors  and  most  worthy  of 
careful  study.  Whatever  he  does  in  sculpture  is 
in  its  very  essence  national.  He  is  extremely 
refined,  a  superb  modeler  and  one  whose  every 
piece  of  work  is  strong  and  of  the  first  rank. 

PAUL  MANSHIP 

Standing  quite  apart  from  the  other  sculptors 
in  his  special  joyous  line  of  work  is  Paul  Man' 
ship,  a  young  man  from  St.  Paul,  Minnesota,  born 
in  1885.  He  obtained  the  Prix  de  Rome  from  the 
American  Academy,  which  prize  allowed  him  to 
study  in  Rome  and  Greece  for  three  years,  from 
1909  to  1912.  His  study  in  Greece  gave  a  most 
interesting,  individual  touch  to  his  work,  for  he 
united  to  his  fresh,  vigorous  western  style  the 
classic  precision  of  the  Greek.  He  has  a  certain 
archaistic  mannerism  in  his  work  recalling  the 
Aeginetan  marbles,  which  individuality  puts  a 
Manship  stamp  upon  his  work,  striking  a 

[87] 


THE  SCULPTORS 

tinctly  personal  note.  His  statuettes  are  most 
charming  and  natural-little  bursts  of  spirit  and 
intense  feeling.  His  work  is  always  interesting- 
the  kind  you  cannot  pass  by.  He  fills  a  niche  all 
his  own  and  is  a  most  promising,  gifted  young 
sculptor.  His  "Spring  Awakening"  and  "Playful' 
ness"  in  the  Twachtman  Room  of  the  Fine  Arts 
Palace  are  delightfully  exhilarating  little  figures. 

CHARLES  NIEHAUS 

Charles  Niehaus'  great  talent  lies  in  the  lines 
of  monumental  sculpture.  He  was  born  in  Gin" 
cinnati,  in  1855.  He  was  a  pupil  of  the  McMicken 
School  of  Art  of  that  city,  later  attending  the 
Royal  Academy  of  Munich,  Germany,  where  he 
took  the  first  medal  ever  won  by  an  American. 
He  has  won  gold  medals  at  the  Pan-American 
Exposition,  the  Charleston  Exposition  and  also  at 
the  Exposition  of  St.  Louis.  His  work  is  of  the  ex- 
tremely dignified  order,  and  shows  great  simplicity 
of  line.  It  is  always  the  spirit  of  the  work  that 
claims  you  in  all  that  he  undertakes.  He  has  done 
nothing  finer  than  his  "Garfield"  at  Cincinnati. 
His  Astor  Memorial  Doors  of  Trinity  Church, 
New  York,  his  "Doctor  Hahnemann"  of  Wash' 
ington,  D.  C.,  and  his  "Driller,"  symbolic  of  the 
energy  of  labor,  are  among  his  best  works. 

[88] 


THE  SCULPTORS 

FURIO  PlCCIRILLI 

Living  in  New  York  in  truly  Florentine  style 
is  the  Piccirilli  family-a  household  of  five  fami' 
lies.  It  is  said  that  nowhere  in  America  is  the 
old  Florentine  style  of  the  fourteenth  century 
way  of  living  so  well  exemplified.  The  men  of 
the  family  were  marble  cutters,  but  within  the 
last  few  years  Attilio,  an  elder  brother,  has  been 
expressing  himself  in  sculpture  of  a  pronounced 
order.  Furio  is  a  young  member  who  is  coming 
to  the  front  thru  the  very  lovely  representations 
of  his  work  at  the  Panama-Pacific  International 
Exposition.  He  has  given  a  fine  human  touch  to 
his  work.  It  stands  quite  apart  in  its  Italian  feel' 
ing  from  the  robust  American  sculpture. 

FREDERICK  ROTH 

Frederick  Roth  is  one  of  the  greatest  animal 
sculptors  of  the  United  States  and  is  studying 
abroad  year  by  year.  He  was  born  in  Brooklyn, 
New  York,  in  1872,  and  was  fortunate  in  being 
sent  to  Berlin  and  Vienna  to  pursue  his  studies 
when  he  was  very  young.  He  attracted  very 
favorable  attention  at  the  Pan-American  Exposi' 
tion  by  his  great  originality  and  technical  skill. 
He  is  extremely  fond  of  modeling  small  animals, 
many  of  which  can  be  seen  in  the  Fine  Arts  Pal' 

[89] 


THE  SCULPTORS 

ace  of  the  Exposition.  "The  Equestrienne" is  as 
clever  and  spirited  a  small  work  as  he  has  done. 

RALPH  STACKPOLE 

Ralph  Stackpole,  one  of  the  younger  sculptors, 
was  born  near  Grants  Pass,  Oregon,  in  1885.  At 
the  age  of  sixteen  he  began  his  art  study  at  the 
San  Francisco  School  of  Design,  remaining  here 
for  the  short  period  of  four  months.  He  later 
studied  with  G.  F.  P.  Piazsoni  and  Arthur  Put" 
nam,  and  considers  that  from  these  men  he 
received  his  best  instruction.  In  1906  he  went  to 
Paris,  where  he  continued  his  studies  at  the  Ecole 
des  Beaux  Arts  and  Atelier  Merces,  where  he 
remained  two  years.  He  exhibited  his  work  at 
the  Salon  in  1907.  You  meet  the  man  face  to 
face  in  his  work  on  the  Varied  Industries  Palace. 
He  is  sincere,  broad,  direct.  As  to  his  reverence 
and  refined  feeling,  you  need  but  to  look  at  his 
"Kneeling  Figure"  at  the  altar  in  front  of  the 
Fine  Arts  Palace  to  see  that  he  possesses  these 
qualities  in  abundance. 

Louis  ULRICH 

The  world  is  probably  receiving  its  first  intro' 
duction  to  Louis  Ulrich,  a  pupil  of  the  joint 
school  of  the  National  Sculpture  Society  and 

[90] 


THE  SCULPTORS 

the  Society  of  Beaux  Arts  Architects.  He  has 
achieved  a  "crowning  success"  in  his  dignified  fig' 
ure  of  sweeping  lines. 

ALBERT  WEINERT 

Albert  Weinert  was  born  at  Leipzig,  Germany, 
in  1863.  He  studied  at  the  Art  Academy  at 
Leipzig  under  Melchior  zur  Strapen,  later  coming 
to  America,  where  he  is  now  located  in  New 
York.  He  has  done  a  great  deal  of  municipal 
work  of  a  high  order,  among  which  can  be  men' 
tioned  sculpture  work  on  the  interior  of  the  Con' 
gressional  Library  at  Washington,  a  monument 
to  President  McKinley  for  Toledo,  Ohio,  a 
"Lord  Baltimore*"  for  Maryland  and  some  very 
excellent  statues  on  the  facade  of  the  Masonic 
Building,  San  Francisco.  His  work  in  the  Court 
of  the  Ages  has  added  greatly  to  the  interest  of 
that  Court  and  is  forceful,  virile  work. 

ADOLPH  ALEXANDER  WEINMAN 

Adolph  Alexander  Weinman,  one  of  the  poets 
of  the  sculpture  world,  was  born  in  Karlsruhe, 
Germany,  in  1870.  When  but  a  boy  of  ten,  he 
came  to  America  with  his  parents.  In  his  youth 
he  began  his  student  life  in  art  with  the  great 
Augustus  Saint'Gaudens,  attending  also  Cooper 

[91] 


THE  SCULPTORS 

Union,  New  York.  Each  year  has  seen  him  move 
successfully  ahead  until  now  he  is  among  our 
finest  American  sculptors.  He  is  one  who  stimu' 
lates  the  imagination  and  raises  the  standards  of 
art  in  whatever  he  models.  His  work  is  pregnant 
with  life  and  is  thoroughly  individual,  so  that 
you  feel  when  you  look  upon  his  figures  that  you 
have  met  more  than  mere  bronze  or  marble.  His 
portraits  are  of  a  very  high  order,  many  of  which 
can  be  seen  in  medal  form  in  the  Fine  Arts  Pal' 
ace.  He  lives  in  New  York,  where  he  is  well 
appreciated. 

MRS.  GERTRUDE  VANDERBILT  WHITNEY 

Mrs.  Gertrude  Vanderbilt  Whitney  is  one  of 
the  foremost  American  woman  sculptors.  The 
Fountain  of  El  Dorado  is  her  first  public  contri' 
bution. 

BRUNO  ZIMM 

Bruno  Zimm,  living  in  New  York,  was  a  pupil  of 
the  late  Karl  Bitter.  He  has  designed  work  for 
former  Expositions,  and  we  trust  that  his  name 
will  be  better  known  in  the  future.  He  has 
added  great  beauty  to  the  Fine  Arts  Palace  by 
his  classic  friezes  designed  in  effective,  bold  masses. 
The  archaic  style  used  in  his  work  is  evident  in 
many  of  the  sculptural  forms  at  this  Exposition. 


SCULPTURE  AROUND 
THE  FINE  ARTS  LAGOON 

The  first  group  of  statuary  in  the  following  list  is  located 
on  the  south-east  side  of  the  Fine  Arts  Lagoon.  Proceeding 
thence  to  the  left  and  through  the  colonnade,  the  most 
important  subjects  will  be  found  in  the  order  described. 

Sea  Lions.  Frederick  G.  R.  Roth 

Most  carefully  studied  as  to  form  and  habits;  you  almost  hear  the  bark  of 

the  great  male. 
The  Scout.  Cyrus  Edwin  Dallin 

The  horse  and  the  Indian  wait  motionless;  his  hand  shading  his  eyes  from 

the  sun,  the  Indian  looks  intently  into  the  distance  for  sign  of  the  enemy. 
Wind  and  Spray.  Anna  Coleman  Ladd 

A  ring  of  figures — male  and  female — fleeting  and  gay — like  the  wind  and 

the  spray. 
Diana.  Haig  Patigian 

The  goddess  of  the  hunt  appears  with  her  bow;  the  arrow  has  just  left 

the  string. 
Peace.  Sherry  Fry 

Quiet,  serene,  she  stands,  her  brow  bedecked  with  olive  leaves;  her  serpent- 
bordered  robe  may  betoken  the  wisdom  of  peace. 
The  Kirkpatrick  Fountain  (extreme  left).  Gail  Sherman  Corbett 

Erected  to  Dr.  Wm.  Kirkpatrick,  superintendent  of  Ononda  Salt  Springs 

from  1805  to  1806  and  from  1810  to  1831,  at  Syracuse,  New  York. 
The  Bison  (2).  A.  Phimister  Proctor 

The  last  of  a  vanishing  race — fine,  powerful  figures. 
Henry  Ward  Beecher  Memorial.  J.  Q.  A.  Ward 

A  noted  American  clergyman,  lecturer,  reformer,  author,  journalist;  lived 

between  1813  and  1887;  a  man  of  forceful  personality  and  fine  intellect; 

he  looks  the  very  man  of  opinions  who  would  not  hesitate  to  give  them  to 

you — and  you  would  be  prone  to  accept  them. 
William  H.  Taft.  Robert  Ingersoll  Aitken 

One  of  America's  greatest  statesmen. 
Halsey  S.  Ives.  Victor  S.  Holm 

Was  director  of  the  Fine  Arts  Palace,  Pan-American  Exposition. 
Seated  Lincoln.  Augustus  Saint'Gaudens 

The  firm  man  of  thought  and  action;  a  replica  of  the  Seated  Lincoln  of 

Lincoln  Park,  Chicago. 
Piping  Pan.  Louis  Saint'Gaudens 

He  stands,  utterly  thoughtless,  with  his  double  pipes — passing  the  hours 

in  amusement;  we  see  him  at  a  musical  moment. 
Flying  Cupid.  Janet  Scudder 

With  the  rhyton,  the  Greek  drinking-horn  in  his  hand,  Cupid  stands  above 

the  globe,  his  little  toes  holding  on  firmly  so  that  he  will  not  slip. 
A  Muse  Finding  the  Head  of  Orpheus.  Edward  Berge 

The  mourning  muse  has  just  chanced  upon  the  severed  head  of  Orpheus 

which  had  been  cast  into  the  stream  by  the  Thracian  maidens;  short  pieces 

of  marble  are  left  to  support  parts  easily  broken. 
Michael  Angelo.  Robert  Ingersoll  Aitken 

We  seem  to  hear  him  say,  "And  now  where  next  to  place  the  chisel?"     He 

is  creating  "Day,"  which  is  seen  in  the  Medici  Chapel,  Church  of  San 

Lorenzo,  Florence,  Italy. 


[93] 


SCULPTURE  /  FINE  ARTS  LAGOON 

Nymph.  Isidore  Konti 

A  poetic  conception  of  the  origin  of  the  stream,  from  which  the  fawn  drinks. 
Young  Pan.  Janet  Scudder 

A  favorite  subject. 

Pan  is  piping  his  woodland  notes  and  marching  to  his  own  music.     Such 

expressive  little  hands  are  those  that  hold  the  pipes!     The  crab  comes  up 

to  listen  and  is  held — spellbound. 
Wildflower.  Edward  Berge 

Everybody's  love!    A  real  darling!     A  little  flower  of  the  fields. 
Mother  and  Child.  Furio  Piccirilli  ^ 

A  typical  mother-expression  as  she  croons  over  her  baby — such  a  dear  one! 
Eurydice.  Furio  Piccirilli 

Orpheus  has  just  looked  back — Eurydice,  realizing  that  he  is  forever  lost 

to  her,  looks  mournfully  after  him.     Great  longing  fills  her  soul. 
Boy  and  Frog.  Edward  Berge 

An  independent  young  chap  stands  among  the  rushes — and  how  expressive 

are  those  toes!     The  frog,  as  the  fountain,  spouts  water. 
The  Dancing  Nymph.  Olin  Warner 

Her  pine-cone  wand  thrown  down,  her  pan-pipes  cast  aside,  the  ivory- 
crowned  nymph  indulges  in  the  dance. 
The  Outcast.  Attilio  Piccirilli 

A  powerful  nude;    his  very  toes  portray  his  grief;    surely  suggested  by 

Rodin's  work. 
Boyhood.  Charles  Gary  Rumsey 

The  youth  who  is  just  beginning  to  gather  his  sheaves,  looks  up  and  sees 

the  stars!     A  new  treatment  in  sculpture. 
The  Pioneer  Mother.  Charles  Grafly 

A  simple,  dignified  woman  dressed  in  home-spun.     At  her  knees  a  boy  and 

a  girl — the  future  builders  of  the  Western  country.     She  has  crossed  the 

cactus-covered  plains,  has  endured  the  greatest  hardships,  that  she  may 

rear  her  sturdy  little  ones  to  lay  the  foundations  of  a  mighty  Western 

empire.     The  bulls'  heads  are  symbolic  of  sacrifice;  oak  leaves  symbolize 

strength.     She  is  best  seen  in  the  afternoon. 
Thomas  Jefferson.  Karl  Bitter 

The  seated  president,  with  a  world  of  thought  upon  his  face,  has  on  his  lap 

the  Declaration  of  Independence. 
Lincoln.  Daniel  Chester  French 

The  rugged  man  of  magnificent  understanding,  whose  every  thought  was 

for  the  betterment  of  the  race. 
Relief  from  the  Boston  Museum  of  Fine  Arts.  Richard  H.  Recchia 

Illustrating  Sculpture. 

The  Commodore  Barry  Monument.  John  J.  Boyle. 

A  naval  hero  who  died  1803.  Fought  in  the  American  Revolution.  Victory 
rides  at  the  prow  with  laurels  for  him.  The  "eagle"  shows  for  whom  he 
fought. 

Relief  from  the  Boston  Museum  of  Fine  Arts.  Richard  H.  Recchia 
This  panel  represents  Architecture. 

Earl  Dodge  Memorial.  Daniel  Chester  French 

Earl  Dodge,  scholar  and  athlete,  was  a  greatly  beloved  Princeton  student — 
a  senior  who  died  just  as  his  college  gown  was  about  to  be  placed  upon 
his  shoulders. 

The  Young  Franklin.  Robert  Tait  McKensie 

With  all  his  earthly  possessions  wrapped  in  a  bandana,  with  upward  gaze 
and  confident  gait,  Benjamin  Franklin  goes  to  seek  his  fortune. 

Lafayette.  Paul  Wayland  Bartlett 

The  young  Lafayette  who  helped  the  United  States  in  the  Revolutionary 
War  and  was  present  at  the  surrender  of  Lord  Cornwallis. 


[94] 


SCULPTURE  '  FINE  ARTS  LAGOON 

Relief.  BelaL.  Pratt 

Representing  Sculpture. 
Relief  from  the  Boston  Museum  of  Fine  Arts 

Representing  Sculpture.     A  relief  of  simple  sweeping  lines  of  great  beauty. 
The  Awakening.  Lindsay  Morris  Sterling 

The  day  has  dawned  and  with  it  life  awakens. 
Beyond.  Chester  Beach 

A  girlish  figure  wonders  what  is  coming  with  the  future  years.     Best  seen 

from  across  the  road. 
William  Cullen  Bryant  (17944878) 

An  American  poet  of  the  first  rank.     He  sits  thoughtfully — his  manuscript 

before  him.     Laurels  grace  his  pedestal. 
The  Sower.  Albin  Polasek 

Along  the  field  he  goes,  scattering  his  seed. 
Centaut.  Olga  Poppff  Muller 

This  bestial  creature  is  in  the  act  of  abducting  a  beautiful  woman.     She 

has  almost  swooned  from  fright.    . 
The  Boy  with  the  Fish.  Bela  Pratt 

They  are  singing  for  joy — the  fish  seeming  to  be  most  comfortably  at  home. 

Even  the  little  turtle  is  happy.     The  little  toes  must  not  be  overlooked. 
Returning  from  the  Hunt.  John  J.  Boyle 

The  Indian  is  advancing  under  the  weight  of  a  huge  bear  across  his  shoul- 
ders, and  the  huge  skin  of  a  companion  bear  being  dragged  at  his  side. 
L' Amour  (Love).  Evelyn  Beatrice  Longman 

A  group  of  tender,  loving  trustfulness.     In  the  background  are  seen  angel 

heads,  denoting  the  spiritual  side  of  love.     The  serpent  below  suggests  the 

great  wisdom  born  of  love.     It  overcomes  all  death  (the  skull).      The  oak 

leaves  symbolize  eternal  love. 
Garden  Figure.  Edith  Woodman  Burroughs 

Is  this  little  Adam  with  the  apple,  or  only  a  little  boy  with  a  ball? 
Youth.  Victor  H.  Salvatore 

A  little  maid  in  sweet  simplicity — against  the  shrubbery. 
Soldier  of  Marathon.  Paul  Noquet 

Recalling  one  of  the  Niobids  of  the  Uffizi  Gallery,  Florence.     The  last 

dying  agony  of  a  Greek  soldier.     His  shield  stands  at  the  left. 
Primitive  Man.  Olga  Popoff  Muller 

He  hauls  the  quarry  home.     Would  the  nose  of  primitive  man  be  so  lacking 

in  primitiveness? 
The  Scalp.  Edward  Berge 

The  Indian  stands  exultant!     His  hands  alone  betray  what  has  happened. 

The  rest  of  the  work  is  most  carefully  treated  to  cover  the  barbarous  side 

of  the  subject. 
Apollo  Hunting.  Haig  Patigian 

"I  shot  an  arrow  into  the  air."     This  muscular  figure  recalls  the  work  on 

Machinery  Palace  done  by  the  same  sculptor. 
A  Faun's  Toilet.  Attilio  Piccirilli 

An  awkward,  somewhat  bashful,  wholly  boyish   faun — his  costume  an  ivy 

crown. 
Duck  Baby.  Edith  Barretto  Parsons 

A  gleeful  little  soul  with  chubby  toes — more  gleeful  than  the  quacking 

ducks  she  squeezes. 
A  Maiden  of  the  Roman  Campagna.  Albin  Polasek 

Like  an  antique  bronze  from  Pompeii.    The  anemones  in  her  braided  hair 

are  surely  some  of  those  that  grow  so  plentifully  on  the  great  Campagna 

beyond  Rome. 

[95] 


SCULPTURE  '  FINE  ARTS  LAGOON 

Head  of  Lincoln.  Adolph  Alexander  Weinman 

He  might  have  looked  like  this  at  the  time  of  his  Gettysburg  speech. 
Daughter  of  Pan.  R.  Hinton  Perry 

A  girlish  satyr  most  intent  upon  the  echoes  that  she  makes  when  blowing 

through  her  double  pipes. 
Mother  of  the  Dead.  C.  S.  Pietro 

The  old  mother,  though  grief-stricken,  accepts  the  inevitable,  while  her 

motherless  grandson,  not  understanding,  feels  that  something  is  wrong. 
Destiny.  C.  Percival  Deitsch 

Does  Destiny  decree  that  man  shall  lead,  while    woman    meekly  follows, 

as  she  did  in  ancient  Egyptian  days? 
Chief  Justice  Marshall  (17554835).  Herbert  Adams 

A  dignified  seated  figure — one  of  the  greatest  Chief  Justices  the  United 

States  ever  had.     He  held  the  position  from  1801  to  1835.    The  United 

States  is  symbolized  by  the  eagle. 
Rock  and  Flower  Group.  Anna  Coleman  Ladd 

A  decorative  group  writh  no  special  meaning.     It  might  be  called  "Idle 

Moments." 
Great  Danes.  Anna  Vaughan  Hyatt 

Watchful  Danes  guard  well  the  portals.     Their  names  might  easily  be 

"Keenly  Alert"  and  "In  Sober  Thought." 
Bondage.  Carl  Augustus  Heber 

The  mother,  tightly  bound,  thinks  not  of  herseli  as  she  turns  away,  but 

of  the  weeping  child  beside  her. 
Saki-aSunDial.  Harriet  W.  Frishmut 

A  nymph  acts  as  a  pedestal  for  a  sun-dial. 
Suri'Dial  Boy.  Gail  Sherman  Corbett 

How  interested  he  is  in  the  chameleon  which  has  curiously  crept  up  to  see 

•who  it  is  that  gazes  at  him. 
Sun 'God  and  Python.  Anna  Coleman  Ladd 

Apollo,  the  god  of  light,  shoots  at  the  python  (the  symbol  of  darkness). 
Triton  Babies.  Anna  Coleman  Ladd 

t.  e.,  Children  of  the  sea-gods,  the  Tritons. 
Bird  Fountain.  Caroline  Evelyn  Risque 

The  little  boy  holding  the  bird  clings  to  the  globe  with  his  toes.     A  simple 

and  very  appropriate  bird  fountain. 
Prima  Mater.  Victor  S.  Holm 

The  "first  mother"  holds  her  babe  to  her  breast. 
The  Fountain  of  Time.  Lorado  Taft 

The  great  ocean  of  Time  is  rolling  on,  carrying  with  it  men  and  women  of 

all  conditions  of  thought.     Some  advance  blindly,  some  hopelessly,  some 

fearfully,  some  buffeted  by  the  great  waves  as  they  roll  on. 
Nymph- A  Garden  Figure.  Edward  T.  Quinn 

Showing  how   any   figure  gains  in   beauty   by   being   placed    among  the 

shrubbery. 
The  Dying  Lion.  Paul  Wayland  Bartlett 

A  powerful  and  most  realistic  group.     The  poor  animal  is  in  the  last  agony — 

is  evidently  starving. 
New  Bedford  Whaleman.  Bela  Pratt 

Such  was  the  type  of  man  who  left  the  town  of  New  Bedford,  Massachu- 
setts, a  whaling  port,  to  seek  his  occupation  in  northern  waters. 


[96] 


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